MITCHY SLICK (June 2007) | Interview By:
Dubcnn was invited to chop it up
with Mitchy Slick in his neighborhood of Southeast San Diego, where we
conducted a two part video interview. In addition to seeing the surroundings
in which all the songs he writes actually take place, viewers will also hear
details on his new album projects, including the Mitchy/Messy Marv
collaboration album, "Messy Slick," a new collaboration album with Damu, and a
new solo album, entitled "48 Hours On Gang Street." We also speak about his
relationship with producer J Wells, and he tells us about the game he soaked
up from hip-hop legend Sir Jinx.
As always we have both the transcript and the video for you to
check and please feel free to send any feedback regarding the interview to:
Interview was done in May 2007.
Questions Asked By :
Full Interview In Video For Download :
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Dubcnn: OK, so you've got
your album, ďUrban Survival Syndrome,Ē that dropped a few months ago. Looking
back on it now, are you happy with how it turned out and everything?
Yeah, Iím happy with how the product turned out. But Iím not happy with how
[it sold]Öshit, I wanna be platinum, you know what Iím sayin! So, until I do
that, I canít really say Iím happy with the shit. I just gotta wait for the
opportunity to come for me to be able to, you know, do what I gotta do, to get
it as big as I want it to be. [I want to] be on TV everyday, be on the radio
everyday, thatís all it is now, you know?
Thereís a lot of shit [you need] to sell records nowadays other than just the
music, so, you know, Iím happy with the music. I love working with Muggs,
Jelly Roll, Khalil, the whole camp, the homie Dubb Knoxx. But itís just the
machine thatís needed, you know what Iím sayiní?
Dubcnn: So, there were a lot of real deep songs on the album. How do you go
about writing a song? Whatís your process like on that?
All I do is just think about something Iíve been through. I mean, everybody
see it, but Iím talking about, if you listen to all my songs - all the
details, the currencies that are really happening, it ainít nothing for me,
you know what Iím sayiní? I never run out of shit to write about, Ďcause I
done been through so much shit. Everybody done been through a lot of shit, but
a lot of us donít know how to get it out the way I know how to get it out.
Dubcnn: So, how about this new album youíve got with Messy Marv, ďMessy
Oh yeah, that ďMessy Slick.Ē Yeah, thatís just something to expand the fan
base and shit, you know what Iím sayiní? Thatís my nigga too. Me and Mess make
some good music together, got a lot of beats from a lot of cats, you know what
Iím sayiní? But thatís one of them grimy records, what we would call like an
underground West Coast record. ďUrban Survival SyndromeĒ was more of a record
that was for the mainstream, and not mainstream music, but, Iím sayiní, them
type of songs that didnít just direct straight to niggas in Southern
California. But, it needed to be pushed in a big way as well.
But this shit Iím doin with Messy Marv, I got an album with Damu comin out,
and I got an album called ď48 Hours on Gang Street.Ē Them records right there,
they gonna be directly, straight, you know what Iím sayiní, towards the core
fan base, you know what Iím sayiní, all the swap meet shoppers and shit.
Dubcnn: So, how did you initially hook up with Messy Marv for this album?
Me and Messy Marv was likeÖI got on my first shit, up in Frisco and shit, the
first shit I got on up there, you know what Iím sayiní, as far as getting on
and doiní shit. It was gonna be distributed nationally. Yeah, it was with Mess
and shit, hooked up through my nigga Guce from Frisco, and through Guce, and
through other cats, they always say, you know, me and Messy kind of reminded
them of each other. Just, you know, a little short black nigga with braids,
[that] talks a lot of shit.
Just from that, me and Messy, you know, he shouted me out on a song, before I
had even met him and shit. I was like, ďOK, that nigga on what Iím on!Ē and
after that, man it was like nothiní. We just hooked up. Me, him, and the homie
Nemo from Siccness put this project together homie, and itís all knocks on
there. Got the homeboy Dubb Knoxx on there makiní beats, got beats from the
homie from Harmon from the Batcave, got the homeboy 2:11 featured on there,
Tiny Doo, Damu, [so] itís gonna be some shit!
And, it ainít like all the rest of them muthafuckiní records, because Mitch
put his time into his shit. I mean, I didnít get to snatch it up and do
everything I wanted with the muthafucka, but, for the most part, itís all my
influence on it. So, when muthafuckas hear it, it ainít finna like just be
some shit where a nigga just threw some songs on to get some dough. Naw, its
some knockers on that muthafucka, you know what Iím sayin?
Dubcnn: Tell us about the Damu collaboration album.
Me and Damu, homie? Thatís straight for the hoods of Southeast. Everybody
gonna love it Ďcause of how it is, you know what Iím sayiní, but mainstream
America wouldnít even understand that shit. Weíve got a song on there called,
ďEl De Beans,Ē and it just talks about how my neighborhood and his
neighborhood [are] cominí together, and gettiní shit right around here.
Thereís a lot of shit going on around here in Southeast San Diego. A lot of
Black on Black shit, not even Black on Black, [but] Blood on Blood, Crip on
Crip, just everybody against everybody out here. Itís like a zoo. So, me and
Damu, weíre trying [to] come together to at least get the shit between our
neighborhoods straight. Itís been straight, but it just makes it even that
much more solid, and [hopefully] we can build from here and get all this shit
Dubcnn: Thereís a lot of San Diego rap thatís still really underground, and
not a lot of people know a whole lot about the artists down here. Who would
you recommend listening to, as far as new artists?
Any Wrongkind shit. Weíve got about 15 projects in the street. Me and my big
homie Baby Jack, weíve been trying to figure out a way to get this shit to
where we just take over the whole town, get a lot of the bullshit gang shit
out of the way, and try to make everybody a fan. I wouldnít give a fuck, as
long as heís repping the Kind.
So, all the Wrongkind projects, Damuís projects, [and] my nigga Cricet. Heís
from the blue side. He makes good shit.
Dubcnn: What other cities are you feeling hip-hop from? Tell us about Strong
Oh man, me and Strong Arm Steady got some shit going on right now. Thatís me
and the homeboys Phil Da Agony and Krondon. Weíve got some major shit going on
right now. Weíre bumping that shit in the background right now. Weíve got
crazy shit from DJ Khalil on there, the homie Thayod, everybody know Thayod
from some of that OG Xzibit shit. Iíve got the homie Jelly Roll making the
knocks on there, everybody know Jelly Roll from the Snoop shit, the Jadakiss,
and the Xzibit shit. Itís finna be right.
Thatís the group album, weíve got a deal right now through Warner Brothers,
through Blacksmith/Warner Brothers. That shit is gonna be taking it to a whole
other level. Iím gonna be able to be seen in a whole bunch of different arenas
that I havenít been seen in yet.
Dubcnn: So thatís gonna be a major label thing with big promotion and
Hopefully, homie. I donít know how big, but I know weíre going to have a
budget to do some shit we ainít never got to do with none of my shit. But
shouts to the homies at Angeles Records, the homie Muggs, they did all they
could do at this point, they showed love, and they did more than all the rest
of these muthafuckas.
Thatís what we need on the West, homie. Everybody coming together. They saw
something in me, put some money into a nigga, [and] put [me] out. Weíve got to
go the hard route here on the West Coast Ė everybody else, they just pop in
every city, so they get on. Out here, weíve got to grind, and Iím a grinder,
Dubcnn: Yeah, and youíve been known for pushing your mixtapes out
independently. Do you have any advice for up and coming rappers who are trying
to get their mixtapes out?
Youíve got to get your street shit going first. Youíve got to get the buzz in
the streets if you ainít no big time nigga.
Dubcnn: Tell us about your relationship with producer J. Wells.
Oh, me and J. Wells have been fucking around for years. I met J. Wells through
the Wolfpac homies. Me and that nigga went on tour, [and] we did like 36
cities together with Tha Alkaholiks, from here all the way to New York,
through Texas, Phoenix, and Canada. Me and J. Wellsís bro, which is my homeboy
Styles from the Wolfpac, hooked up, and me and J. Wells did one song I had
called ďPlatinum Dreams.Ē That shit, on the radio out here, was the most
requested song. After that, me and that dude have just been making hits.
Dubcnn: In your last interview with us, you said that you consider yourself a
student of West Coast hip-hopÖ
Yeah, I got laced up by Sir Jinx. Sir Jinx is Dr. Dreís first cousin, so I got
the game first hand. I got to hear Ice Cube and themís demos and shit! Ice
Cube, Sir Jinx, and K-Dee mixtapes from back in the days! I got to hear
Yo-Yoís raps when Del Tha Funkee Homosapien used to call and record the raps
over the message machine for her to hear them, and then recite the raps back.
Jinx taught me all the shit. He [taught me about] equipment Ė how to make
beats. He didnít know he was doing it, but while I was there with him [I
picked it up.]
I met him through the homeboy DJ Jam, which is Snoop Doggís DJ. We just met
up, [Jinx] was working on the Xzibit album when I met him, [which was] in
2000. We just built a relationship. Sir Jinx, he produced all that Ice Cube
shit, ďAmerikkkaís Most Wanted,Ē [and] he just let me soak it all up, and I
ran with it. So, I really say that Iím a student of West Coast hip-hop,
because I got it from the niggas that invented this shit!
Dubcnn: From all your experience, what would you say are the key elements to
making a good song?
Making a good song?
Keeping it real, and having a good beat. Iím a beat dude. To me, it starts
with the beat, because you can get a party cracking with an instrumental. You
canít get no party cracking with a straight acapella! So, Iím a beat cat. Iím
into beats Ė hard knockiní ass beats. From there, youíve got to kick some real
shit. Thatís all the elements. Keep your vocab in tact, keep your originality
in tact, keep your flow in tact, on beat and shit, and keep your muthafuckiní
ideas fresh. Fresh new words, Iím into all of that shit. I donít try to be too
hip-hop, because my fan base ainít too hip-hopíd the fuck out. Theyíre mostly
street niggas and shit. But, youíve got to think about all of that shit, and
thatíll make a good song, you know?
Full Interview In Video For Download :